50 Best Foreign Thrillers of All Time

With ‘Wild tales’, writer-director Damían Szifrón explores exactly how thin the proverbial veneer is on the passions of the human heart. Or rather he gleefully rips it off. Visually dazzling and laced with social critique, violent revenge is the theme joining the six vignettes together. Each one starts off in a relatable everyday situation, including an airplane, a wedding, and a coffee shop, which quickly propels into complete savagery of Roald Dahlian proportions.

Like the famous author of Charlie and the Chocolate Factory, Szifrón writes great satirical characters, which he relishes in hurting and throwing in the ditch. And much like the rage of its protagonists, featuring Ricardo Darín as a family man articulating his by way of explosives, this movie does not know peaks and valleys. It’s a dark comedy thrill ride that will have you gasping for air!

Monster is a deceptively simple story about growing up and the many misunderstandings that come with it. It’s told through different points of view, a technique that could easily feel gimmicky in the hands of a lesser director. But with director Hirokazu Kore-eda at the helm, it feels natural and inevitable, as if there was no other way to tell this specific story. It’s a masterful mystery, but Monster is less about suspense and answering the whodunnit question than it is about navigating the murky waters of truth and real life. As corny as it sounds, watching Monster is an experience unto itself: you’ll find yourself believing something one moment and dismantling it the next, learning and unlearning in a span of two hours. But as with past Kore-eda films, it’s the story’s heartwarming sensitivity that trumps everything. You’ll likely come for the mystery but stay for its heart.

A slow-burning Argentinian thriller about a retired legal counselor and the one case he investigated that just would not die, The Secret in Their Eyes is a taut and sharp mystery. As layers of mystery unfold, the story draws the viewer in and becomes entangled with the deteriorating political situation in Argentina. Notably, the film features a single-take 5 minute shot – a fantastic technical achievement and a testament to the directorial vision and skill.

Antoneta Kastrati’s debut feature film Zana follows Lume, who appears guarded and subdued as she goes about her daily routine: milking the cows, harvesting crops and flowers, hanging laundry out to dry. Part of Lume’s routine also includes visits to the doctor, accompanied by her mother-in-law and husband, who pressure her to conceive.

When conventional medical advice does not yield a viable pregnancy, Lume is brought to a witch doctor, and later a televangelist. The former suggests Lume may be cursed, while the latter insists she is possessed by a supernatural creature called a jinn. Lume appears largely apathetic, at least outwardly. But slowly, she starts to unravel—and with her undoing comes the reveal of the war that traumatized her. 

Kastrati’s family drama has elements of horror, but the real terror here is psychological. It makes for an important exploration of a deeply patriarchal society that is only beginning to heal the collective traumas of a complicated war, and how its violence continues to ripple through time and into domestic life. 

This Oscar-nominated French movie is set in Montfermeil, the Paris suburb where Victor Hugo wrote Les Misérables but which today is a rough neighborhood.

Inspired by instances of police violence that happened in 2008, the movie follows a squad of police officers who try to keep the neighborhood under control. Their methods, or lack thereof, inevitably cause things to explode. This is a thriller with a message, one which sometimes feels forced; but the payoff at the end will make you forget all of that.

Despite being based on a 19th-century serial novel, Lost Illusions feels remarkably close to contemporary concerns about fake news and the devaluing of art for profit. But as the story is also, obviously, set in the 19th century, all this bribery and these backdoor dealings are done entirely through the written word and by sending runners from one Parisian theater to the next—and the result is uniquely thrilling. Nearly every character is a terrible person (like in an old-timey Goodfellas way) and it can get tiring seeing the film glorify their hustle, but the energy it brings is rare to find in any other period drama.

After an initially disappointing breakthrough attempt to Hollywood, Jackie Chan pivoted back to Hong Kong, unexpectedly creating an iconic film franchise and maybe perhaps one of the best martial arts movies ever made. Police Story seems to be a simple story at first, but it was through this film that Chan’s spectacular stunts evolved for a more modern setting, incorporating slapstick and action choreography into a definable style, while also questioning the ways Hong Kong police conducted themselves at the time. Police Story is Jackie Chan at his best, pushing an entirely new standard for action films all over the world.

The Chaser is a police procedural, but it’s one of the more brutal ones we’ve seen. It isn’t because the crimes depicted are heinous, though they are, and writer-director Na Hong-jin doesn’t shy away from capturing the terror of the serial killer’s crimes. And it isn’t because the main person on the case isn’t police at all but a disgraced cop turned pimp, pulled into it only to find the girls he’s missing. No, it’s because the actual police mess up their own investigation. As Joong-ho learns more about the man he’s searching for, each scene proves the incompetence, the politicking, and the corruption that keeps his former comrades one step behind, and that kept himself from the profession. The Chaser understands what’s at stake each time a case like this occurs.

Eyes Without a Face is aptly titled. As the mad Dr. Génessier goes to extreme lengths to restore his daughter Christiane’s beauty, the beauty he accidentally disfigured in a car accident, we mostly see Christiane with her face masked, only with her eyes undamaged. It’s her eyes that drive this French body horror classic. Her fear over what her father is willing to do reflects our own, especially when he proves, again and again, how he’ll prioritize beauty and control at the expense of all life. It’s her expression that marks the vivid images that still influence horror up to today.

The Innocents is a Norweigan thriller that follows four kids who discover they have supernatural powers over the summer. They play around and experiment in the woods nearby, but what begins as harmless fun quickly develops into something much more disturbing and sinister.

This unnerving film, a blend of fantasy and horror, doesn’t waste time explaining the origins of its mysticism. Instead, it goes straight into action—bending, twisting, and splitting open anything and anyone that gets in its way. This kind of rawness is shocking given the age range of the characters, but it also works to subvert what we’ve come to expect from kids, youth, and goodness. The Innocents isn’t for the faint of heart, but if you can manage some bloody and unhindged scenes, then it’s sure worth checking out. Directed by Eskil Vogt, co-writer of critically-acclaimed films like Thelma and The Worst Person in the World.

Like many of Edward Yang’s films, The Terrorizers examines Taiwan’s urbanized society, but this time, it’s centered around the rougher side of town, where a shooting incident connects the lives of three couples. At first, the scenes don’t make much sense, as the film rapidly shifts from couple to couple without explanation, and the sequence being used to place doubt on the reality of certain scenes. But as the film progresses, these scenes form into something like a puzzle, a piece of a whole treatise on the way real and unreal intersect, the way these perceptions shape one’s relationships. The Terrorizers is somber, and baffling, and sometimes downright bleak, but it’s a fascinating enigma on today’s urban loneliness.

Le Doulos starts with an explanation of the title. While the word refers to the specific type of hat the gentlemen of this film wear, it has become a slang word meaning police informant. As such, an expectation is set– one of the thieves will end up as an informant. Admittedly, the path to get there is a bit convoluted, with every guy wearing the same trench coat and wide-brimmed fedora betraying each other (if they haven’t already), but the journey in finding the crook of crooks is made so intriguing by the strong direction of every scene. Each frame is shot in that signature shadowy light and visual innuendo that made film noir striking. It’s also paired with such a groovy score that sets the suspense of the heist that follows. So, while it may not be the most straightforward caper film, Le Doulos nonetheless is a fun pastiche of the film noir genre.

Long before his battles with King Kong, this sci-fi classic set the foundations of what was to become the world’s longest running film franchise. It’s an interesting rewatch, decades later. That’s not because the monster in the title is huge and awesome, though it certainly helped when it finally emerged from the water. No, what really makes the first installment interesting is how it lingers on the confusion, the uncertainty, and the terror for something so strong and massive that it can’t be stopped, even when indirectly caused by human warfare. Given the atomic bomb and the succeeding nuclear arms race, Godzilla fully encapsulated the worries of its audiences at home, and it’s the terror that has been shared all over the world even to today.

You can probably predict from the title that an accident starts this thriller but what happens after is totally unexpected. Of course, a car accident requires a visit to the auto mechanic, but in this film, this car check-up ends up becoming an unintended encounter with unexpected consequences. That’s because the mechanic recognizes the customer’s peg leg, the very same leg that he’s heard while being tortured in prison. Everything that happens, then, is a result of that past. Part of it is actually funny, with the tragicomedy poking fun at how totally unprepared Vahid is to enact his revenge, to the point he’s not even 100% sure he got the correct man. Still, however messy it gets, It Was Just An Accident never forgets the wrong that’s been done, and highlights the reparations Vahid and his fellow inmates should’ve gotten.

13 Tzameti is a unique suspense movie from Georgia and the debut of director Géla Babluani. This film explores the life of a migrant worker from Georgia working in France, who literally gambles his life in a high stakes game of chance organized by powerful criminals.  13 Tzameti won the World Cinema Jury Prize at Sundance in 2008, and of course, a not nearly as good American remake. Do yourself a favor and check out the original!

Ask yourself how many Palestinian movies you have seen before. You will want to give this smart and twisty Academy Award nominee by Golden Globe winning director Hany Abu-Assad a chance to change your answer. Omar, a Palestinian baker, climbs the West Bank Wall to see his lover, Nadia, whom he wants to marry. When Israeli soldiers catch and humiliate him, he gets implicated in the shooting of an Israeli soldier, and eventually gets arrested and faces an extremely lengthy sentence. Later, his captors’ motives and his own get tangled up in politics, friendship, trust, and love. Omar is a highly realistic, compelling crime drama you don’t want to miss.

Realistic, intimate, and compelling, Elena is a movie that makes you think a lot after you finish watching it. It is an inherently Russian movie, however there is something about how the story is told that makes it a universal family drama. A woman from a modest background to which she still has a lot of attachement is married to an old wealthy business man. Upon learning that the man might write her off his will, she feels pushed to get her hands dirty to honor her responsibilities towards her original family. The question of right and wrong when faced with extreme situations is at the heart of this aesthetically slow-burning family drama.

A young lawyer has to defend a murderer after passing the bar only three months prior in this satisfying German drama. To make matters worse, the victim happens to be his mentor, a wealthy and seemingly kind-hearted business man. As for the perpetrator, he refuses to say a single word. Caspar, the lawyer, is from a German-Turkish background, which is a hint to where the complexity of this legal drama lies: in Germany’s history and racial legacy. The Collini Case is satisfying to a fault, but if you’re looking for substance-filled entertainment, this is some of the best you’ll get.

Given the name, Revanche seemed to be a revenge thriller, and to a certain degree, that’s correct, but the way writer-director Götz Spielmann frames the plot makes it feel much more like a naturalistic character study of the way love and violence walks hand-in-hand, leading to a tragedy that shifts its thrill each time ex-con Alex is forced to make a change. It’s a surprising portrait. It’s one that is tense with permeating silence and no added score, with the camera still and lingering by the door. It’s slow, unfolding within the mundane. And it’s existential, with the way these characters actively try to change their fate, but only lead into even more difficult issues. Revanche is a refreshing take of the titular theme.

When falling in love with another, or when another person falls in love with you, the relationship is formed by the ideas in your and their heads, specifically about your dynamic, your respective personalities, and the potential outcome of this love. Law of Desire is centered on this idea, unfolding through a chaotic gay love triangle that demonstrates the ways the ideas and fantasies can differ. And as the characters inevitably go through fairly melodramatic reactions when they realize the desires of another person, in the most colorful fashion (literally and figuratively), Pedro Almodóvar creates an amusing and daring examination of the genre it’s inspired by.

Despite how the title sounds like, the horror of Bedevilled isn’t a devil, a demon, or a spirit. It isn’t even the way childhood friend Bok-nam snaps, taking up a scythe and going on a murderous rampage to kill all the people that wronged her. No, the actual horror of Bedevilled is that everyday people like bank employee Hae-won would hesitate to do what’s right. Reading that sentence can sound cheesy, but writer-director Jang Cheol-soo structures the film, and her visit to Modo, in a gradually escalating manner. When Hae-won first lands, the mean gossip seems ordinary, but the film takes these ordinary, if overcritical, words, and delves into the subtext, especially the darker implications that makes the film difficult to watch. The film does understand Hae-won’s hesitancy– the scenes do acknowledge that reporting could mean retaliation, and the score consistently meets that very fear. But Bedevilled also understands that, if hesitancy allows abuse to be left unchecked, the very same violence that Hae-won was (and many people are) avoiding will inevitably escalate.

Beginning with a great opening shot of townhouse on a side street in Paris, only ti discovers that the shot is actually from a video sent to Anne and Georges Laurent (Juliette Binoche and Daniel Auteuil). The married couple who live in that house have no idea who sent the video. More videos appear and events unfold. I can’t say much more about this film without ruining it, it’s definitely one of those films better enjoyed if you go into it not knowing a lot. Directed by Michael Haneke who won the Cannes Best Director Award for it.

Polytechnique directed by Denis Villeneuve, is a dramatization of the 1989 Montreal massacre of multiple female engineering students. This film focuses on a male student navigating the massacre for the majority of the film’s run time. The performances and minimal dialogue in this film certainly make this an unnerving film to watch. Littered with the screams of the actors portraying the engineering students, this could be mistaken as a gaudy horror film. However, this is far from a fictionalized horror.

This Villeneuve classic is undoubtedly one of the most emotionally brutal films of the 2000s, yet I appreciate the honesty of the storytelling. Polytechnique encourages its audience to ask itself if it truly understands the truth of misogyny. 

There is a lot to admire about this revenge film from director Mouly Surya—the breathtaking shots of rural Indonesia, the grisly practicality of the titular Marlina, the relevant observations on gender politics, and the simple yet stylistic way all of this is revealed. Fans of Westerns and Spaghetti Westerns are also treated with an Eastern reimagining of tropes as the film exchanges long guns for Kabeala knives and sprawling deserts for tropical hills.

Packed with so many delights, Marlina the Murderer in Four Acts is a near-impossible miss. But if you somehow find none of this gripping, you can always rely on the sure thrill of seeing scorned women bloodily and rightfully avenge themselves. 

Don’t let the title and poster fool you—Riders of Justice isn’t the testosterone-filled action flick you’d expect going in (though it does get ridiculous at some points). It centers on deployed military man Markus, played by the appropriately masculine Mads Mikkelsen, who has to return home to his teenage daughter Mathilde after his wife dies in an accident. Instead of coping normally and sticking with his daughter to get through the tragedy, he goes down a rabbit hole discovering how the accident that killed his wife is more than just bad luck and may have been collateral damage from a gang orchestrating an assassination.

Surprisingly, director Anders Thomas Jensen injects this violent film with a lot of gentle moments about trauma and togetherness. Mikkelsen and the rest of the cast play off of each other very well, using dark humor to bring together a bunch of characters who are, in oversimplified terms, “fucked up but trying their best.”

It may seem like the guns, blood, and badass moments are a front for this film that, at its core, shows men who badly need therapy banding together to cope with the harshness of life. Extremely funny and deeply moving, it qualifies as a heartwarming Christmas movie, believe it or not.

During Custody’s opening scene — a judge-mediated custody hearing between ex-spouses Miriam (Léa Drucker) and Antoine (Denis Ménochet) — the latter’s lawyer pleads with the judge to side with her client, arguing that, despite his reported history of violence and the reluctance of the couple’s 11-year-old son to live with him, “Nothing here is black and white.” Custody plays something of a poker face in its first few minutes, leaving us as reliant as the judge is on arguments like these, but outside of the mediation room, the film’s tight 93-minute runtime builds to a finish that will conclusively — and terrifyingly — prove that claim false.

The skill of Custody, however, is in the fact that we don’t need this definitive proof to form our judgment, because we can feel the silent threat of it in every preceding frame. Each of its naturalistic scenes, whether ostensibly quotidian or celebratory, is suffused with simmering dread and ticking tension; even when he’s absent, Antoine looms over the family’s life like a dark cloud. With such restrained mastery over a thriller-like tone, Custody reveals the family’s all-too-common reality as the horror it really is.

See, usually, when American violence in media is critiqued, it’s usually through analytic studies or overly exaggerated lectures stirring moral panic. Instead of doing this, however, auteur Michael Haneke decided to surpass the crime genre, playing with the form and emotions in Funny Games. It’s terrifying, not because it immediately delves into the violence, but because it starts off with an ordinary, innocuous visit, that gradually escalates into an unpredictable home invasion where two teenagers inflict needless violence in such a scary yet spectacular way, even involving the viewer into their shenanigans. Ironically, this led to Haneke creating a shot-for-shot American remake of this same story, but Funny Games’ break in form made Haneke a director to remember, as he started to film outside his native Austria after the standout thriller.

It won’t be surprising to hear that a film called Live Flesh would be all about the body. There are, of course, the sensual scenes that make the movie an erotic drama, but filmmaker Pedro Almodóvar shifts the original psychological thriller novel into an examination of the body, how it’s perceived, and how people break that perception in pursuit of desire. It’s because of this that even with the melodramatic flourish, the disability, abuse, and drug addiction aren’t just plot devices– they’re the natural extension of that discussion after the body has gone through trauma– but Almodóvar expands it further with the fearful time period in which they were born into, and the societal positions they take as a result of it. The excellent ensemble cast and Almodóvar’s signature vivid style bring Carne Trémula to life spectacularly.

The first in famed Korean director Park Chan-wook’s Vengeance trilogy (after cult films Oldboy and Lady Vengeance), Sympathy for Mr. Vengeance follows a Ryu (Shin Ha-kyun), a deaf-mute man who resorts to crime when his ailing sister is in need of a kidney transplant. He decides to kidnap the daughter of a wealthy man named Park Dong-jin (Parasite’s Song Kang-ho) for ransom, but he underestimates how, like him, Dong-jin will stop at nothing to save a loved one. Thanks to its rich characterization, dazzling editing, and fearless experimentation, Sympathy for Mr Vengeance makes for a thrilling (if violent) watch, one that will hit you hard and leave your mouth agape by the end. Here, you’ll see traces of the head-turning twists that will come to define Park’s stunning filmography, which apart from Oldboy includes the much-celebrated The Handmaiden and Decision to Leave.

You’ll probably never find a film like The Blind Man Who Did Not Want to See Titanic. The camera is blurry, with lead Petri Poikolainen’s face the only image we see clearly. The audio sometimes goes in and out. There’s even a section that turns completely dark. While this would usually mean that something is wrong with the tech screening the film, it’s actually a brilliant way to immerse the viewers in Jaako’s experience, heightening the stakes of what should be a simple commute into a unique thriller comedy-drama. The Blind Man Who Did Not Want to See Titanic is truly an original film.

In a few seconds, a mistake can change your life forever. Insomnia is centered on a Swedish detective trying to solve a murder while trying desperately to cover a mistake made from the difficult mix of the fog and human exhaustion, but in doing so, his guilt, shame, and suspicion that no one would believe him due to past mistakes, weigh down on him, twisting the police procedural upon itself. Stellan Skarsgård holds an incredibly restrained performance throughout the entire film, and it’s well-framed by writer-director Erik Skjoldbjærg, whose use of cold white light in this debut feature eventually became the staple of on-screen Scandinavian noir.

When reading the premise, Tokyo Fist seems, at first glance, like the primordial eclectic mix of Challengers and Fight Club, with tennis swapped for boxing, and with sweat swapped for bruises. The film is entirely centered on a love triangle spurred on by a sport, with both players out to settle their rivalry, triggered again by a girl. However, being directed by cyberpunk horror auteur Shinya Tsukamoto, Tokyo Fist takes on a more visceral approach, with repressed resentment only able to be released through beating the hell out of each other, beating the hell out of themselves, and through bloodying both their fists and their opponents’ faces. It gets avant garde at certain moments, but Tokyo Fist is a sports horror ahead of its time, and an unexpected, underrated film from the man behind cult classic Tetsuo: the Iron Man.

What exactly are The Consequences of Love? At first glance, this seemingly mundane drama offers its audience an Italian loner having long resided in a hotel in the Swiss Alps. The combination of the title and the introduction seems like it could lead to a vacation romance with a local barmaid, but there’s more that the film offers. On top of all this, director Paolo Sorrentino transforms their relationship into a mystery of its own, complete with unexpected thrills, dramatic backstory, and the past returning at the worst time possible. And it’s all made compelling with the foundations of Sorrentino’s signature style.

The worst has happened in A Wolf at the Door. With Sylvia finding out that her child was picked up from school by an unknown stranger, it’s up to her to figure out what has happened. Already, the premise is terrifying. Writer-director Fernando Coimbra starts this mystery through the police interrogations, with the camera focused on possible suspects. He follows them with flashbacks, with each new sequence shifting the way each character gets perceived. Crime thriller aficionados would likely predict the perpetrator with an early reveal of an important clue, but the story that unfolds into unexpectedly dark ends. It’s a chilling way to depict this true-to-life story.

For Western audiences, City on Fire might be best known as the Hong Kong crime actioner that inspired Quentin Tarantino’s Reservoir Dogs. The jewelry heist follows the same beats, the on-set stunts embody the same lived-in action, and the films are both very violent. However, there’s a subtle undercurrent that powers the thrill of this movie. Far from the heroic gangster flicks popular at the time, City on Fire doesn’t side with the police nor the Triad. Instead, they both take advantage of detective Ko Chow, through an undercover investigation that’s willing to let him be collateral damage. With a distinctly different direction, it’s no wonder that City on Fire remains as the blueprint for action movies today.

Pan’s Labyrinth is often considered director Guillermo Del Toro’s best film, and rightfully so. But if you’re looking for a straight-up ghost story, this is the film that gets the job done. Everything about this film is sad and beautiful and unnerving, from the setting (an orphanage during the Spanish Civil War) to the atmospheric visuals.

With plenty of old men having extramarital affairs, taking advantage of younger women and leaving them forlorn in love, it can feel deceptively easy to take sides in the first forty minutes of He Loves Me… He Loves Me Not. Who wouldn’t side with Angélique, especially with the innocent, childlike face of Audrey Tautou? And yet, when the twist occurs, the film fills the gaps in totally unexpected ways, gradually escalating to a terrible and sad conclusion about this seemingly romantic girl. It’s hard to further talk about He Loves Me… He Loves Me Not without getting into spoiler territory, so if this is the first time you’ve heard of the movie, go and watch it without any context.

Despite being colorful and full of music like many Bollywood films, there’s a noirish sensibility to Talaash that makes it stand out. The plot takes on a familiar investigation. The protagonist, portrayed by Aamir Khan, is broody and jaded due to grief. And of course, there’s a femme fatale portrayed by Kareena Kapoor Khan, who remains frustratingly yet compellingly elusive. All this together creates an incredibly suspenseful atmosphere, so the twist at the end might prove to be divisive to viewers. To this viewer, however, it was a clever way to tie in Surjan’s grief into the story. Talaash is terrific.

Frankly, the characters of In The House are in dire need for some therapy after the events of the film. A high school teacher takes an interest into one of his student’s writings, which turns out to be his fantasies of another student’s perfect family, and they end up to be further linked in even stranger ways, to say the least. But as the plot progresses, the film unfolds into a deep meditation of art, with each character serving as either the creator or the admirer, and representing how both can use it to see reality or to dream about another one. The direction is a surprising way to go about it, but the tension and the cast’s excellent performances drive the story to a much more exciting place.

Contrary to other sci-fi films, this oddball animated feature reimagines a different history. Rather than envisioning where tech can take us, it imagines a world still held back by the limits of steam. That’s because scientists like Tesla, Edison, and Einstein are forced underground. Because of it, April and the Extraordinary World feels quite unique. It doesn’t slap on the aesthetic of steampunk for the heck of it, it just naturally allows steampunk to inform the story, adopting a makeshift, rebellious attitude that embodies the best of science. Like its title character, April bucks against expectations to create something distinctly original.

Without a shadow of a doubt, one of the most gripping thrillers in recent years. It starts in a morgue where a corpse of a deceased femme fatale goes missing. Her husband is the first person to be suspected as evidence starts pointing to him for killing his wife and hiding the body. He is called by the police to the crime scene to help with the investigation that is led by a shady detective. The film then takes you on a journey filled with reflections on marriage, deceit and the character’s urge to safeguard whats their own and the territories they are willing to cross to keep it. Drawing you into the atmosphere from the very start, it refuses to let you go out of it. All while maintaining a simple premise.

In my own wished-for parallel universe, French actors Vincent Cassell and Emanuelle Devos are voted the sexiest actors alive. I find them both transfixing and appealing in every role they’ve performed, and they are quite the pair here. Devos plays Carla, a put-upon assistant at a property management company. While good at her job, there is little room for her to advance her career, as she is one of the only women at her company and also has a hearing deficiency. Into her humdrum life walks ex-convict Paul (Cassell), who Carla hires as a personal assistant. It turns out that what Paul lacks in secretarial skills he makes up for in other ways. The first half of the film plays almost like a dark workplace comedy, before taking a dangerous turn towards psychological crime thriller. Overall, it’s a dark and sexy character study of two mismatched outsiders who turn out to complement each other perfectly.

Borrowing heavily from yakuza films of the past, The Blood of Wolves feels like a movie plucked straight out of the 1970s and given a slick coat of 2010s neo-noir shine. The film never tries to reinvent the recipe it’s working with, but it doesn’t have to when its violence is still satisfyingly brutal, its plot endlessly twisty, and its morality grey. At the center is a brash and sleazy performance from the great Koji Yakusho, whom you can never really clock as being in control or out of his depth. It might only hold special value for hardcore fans of the genre, but it provides enough solid thrills for the more casual viewer.

Alternatively known as The Chinese Connection due to a translation error, Fist of Fury was the second of Bruce Lee’s leading roles in Hong Kong, this time taking his fists to 1900s Shanghai. As Chen Zhen, fictional apprentice of the real life Jingwu School, Lee fights against the rival Japanese dojo after the death of his master, asserting the honor of his Chinese kung fu school in the face of the foreign occupation. It’s this foundation that sets the stage for Bruce Lee’s fight choreography, delivering spectacular action sequences that are impossible to duplicate in the service of vengeance and justice. It was through this film, and his other Hong Kong features, that Bruce Lee bridged east and west, setting the new standard for martial arts cinema all over the world.

Not to be confused with a similarly titled Japanese film, Memoir of a Murderer is an intense mindbender of a thriller. Like a cross between Memento (2000) and Seven (1995), the film follows a serial killer with Alzheimer’s, who starts to question his memory when a series of killings occur in the small town he lives in. The non-linear narrative helps recreate the sense of disorientation and confusion the lead experiences, racketing up the suspense, and pushing the audience to keep guessing each time the film goes through each of its twists and turns. This unique storytelling was why it’s one of the many films that popularized South Korean thrillers, becoming the first film in the country to get two million tickets sold.

The title of this chamber drama doesn’t refer to the nightclub, but rather the unfortunate company these Catholic priests are forced to share with each other. That’s because these priests didn’t retire from choice– they’re there because they’re exiled for their scandals. Given the past decade, one can easily guess the reason each priest is here for. It’s a delicate subject, considering how prevalent Catholicism still is, but director Pablo Larraín successfully empathizes with the priests’ pitiful isolation while simultaneously bringing each of them to their own reckoning, never losing sight of those they have harmed. It’s not an easy watch, but The Club tells a difficult tale that needed to be told.

After accidentally hitting a homeless man with his car on the way to his mother’s wedding, Detective Ko Gun-su is certainly having A Hard Day. No one would blame him if he took the next day off and took some time for himself. However, he doesn’t do that. Instead, he reacts so differently, leading to a series of increasingly chaotic consequences. It makes for an unpredictable crime thriller, finding some humor in the way he continues to dig himself further into trouble, while cathartically letting karma play out with each morally dubious action. A Hard Day is so fun to watch.

A man accidentally gets into a time travel machine and travels one hour back in time. He finds himself stuck in a series of disasters of unforeseeable consequences, with unusual and thrilling moments at every corner. Similarly to Primer, this movie goes to prove that with intelligence and attention to detail, you don’t need a big budget to create an unforgettable story. Great acting, great story-line, and a great thriller.

A woman loses her phone on her way back to her countryside childhood home. Once there, she connects an old landline in hopes of finding her lost mobile, only to start receiving weird calls that seem to be from 20 years ago.

On the other side of the receiver is a girl who seems to be in danger. The Call is thrilling, sometimes scary, but also brilliantly shot, and its plot is so expertly woven. It’s a proper movie-night movie.

This Danish thriller is about a man who gets into a car accident with a woman and, upon visiting her at the hospital, gets mistaken for her boyfriend by her wealthy family.

The man in question is Jonas, a family guy with two cheerful children who is also going through a text-book case of mid-life crisis. So when he realizes that Julia lost her memory and that she shows interest in him, he steps into the role of her boyfriend.

Things escalate very quickly, both as Julia starts to get some of her memory back and her actual boyfriend arrives. If you like Scandinavian noirs like Headhunters, you will love this.